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There are for sure many other films dealing with domestic violence, but I bet no one is better than this one.

This is something that is said to happen quite often in Spain and the movie was shot in order to sensitize people for this issue and to bring to talk about it. It is the story of an ill jealous man, full of complex of inferiority, terrorizing his wife and son.

I loved the love scene between both, where he makes her repeat that she gives all her body to him (Te doy mis ojos, te doy mi boca etc.). It shows perfectly the mental state of the husband who sees his wife as his property.

This was as well an excellent performance of Laia Marull and Luis Tosar.

At the rate of more than one a week we have on our headlines a case of a woman being killed by her husband, ex-husband, partner or just simply lover, and even, very occasionally vice-versa. The fact that most of these crimes are committed in a very defined area of Spain is something which suggests the sociologists should be working flat out in an attempt to inform the politicians why this is happening - not that our elected representatives are likely to do anything to remedy the situation. Already, this year alone, 66 Spanish women have been beaten and killed by their partners in life. The other day I read that a lady judge had quashed a case of wife-battering because 'it was only an isolated case without continuity', or words to that effect. A lady judge .........! Evidently our legal and social systems need a drastic overhaul. And that means trying to inject a goodly dosis of common sense in both systems.

The Icíar Bollaín-Santiago García de Leániz tandem, forming Iguana Films, has clearly established that human contact stories are their main motivation, as in 'Flores de Otro Mundo' (qv); and in 'Te Doy Mis Ojos' they do not simply follow the line, but improve on it explosively. Somewhat akin to better known films by the British directors Ken Loach and David Lynch, basically for the sociological aspects in themselves, but clearly hallmarked as inherently Spanish in content and realisation, as is the case with Fernando León de Aranoa's 'Los Lunes al Sol' (qv), to name but one recent example of a film with a real human and sociological content, 'Te Doy Mis Ojos' competes with the best of the genre.

With this new film, the 'Iguana' tandem fall back on Luis Tosar again, and present us with Laia Marull. This actress had not come to my attention previously, as she seems to have done things for film or TV mostly confined to her native Catalonia. A welcome presence is Rosa María Sardà who has often pleased me with her interpretations in several productions. (Why she has to make silly advertisements for TV is totally beyond me). To say that Laia Marull in this film is magnificent is somewhat understating the reality: her performance is so close to absolute perfection, pure real emotions, that even the muscles in her cheeks and neck portray her feelings, as you will rarely ever see in any actress anywhere, however many Oscars they may have stacked away in their wardrobes, exhibited in gilt-framed glass cabinets, or just simply shoved in a corner behind the salt-pot in the kitchen. Laia Marull carries out a 'tour de force' which leaves you open-mouthed in admiration: her reading of the part is superb, such that the spectator is just simply left spell-bound. I thought this kind of acting was only possible in the best Russian tradition, or, if you push me, in some better British productions.

And Luis Tosar is not far behind. Without overplaying his difficult role of a husband, who is, to say the least, a bit off his rocker, and has to mistreat his wife and at the same time maintain the explicit idea that he is just about as sane as you, I, or anybody else, and thus is capable of tenderness, might seem to be asking any actor to overstretch his possibilities. If Luis Tosar was good - very good - in 'Los Lunes al Sol', here in 'Te Doy Mis Ojos' he was even better. These two, then, worked to make this film, evidencing good chemistry, but especially with the film's director, Icíar Bollaín. The result is electrifying, passionate, growling to the most abysmal depths, but reaching great heights in building upon human emotions - real emotions and feelings, not the canned ready-made ephimeral substantiations served up as if for dinner in a four-star restaurant.

The film is architecturally built on a very serious, tragic and dramatic situation; however, there are those lighter moments which can even produce a few teary-eyed guffaws. This is another point where the film scores highly: the timing is absolutely brilliant. In the kids' birthday party there is a brief, grim scene, suddenly interrupted by the appearance of an aunt holding aloft the candled birthday cake with that typically silly smiling grin of any ordinary woman present at such festivities, but with such perfect synchronisation that the audience barely staggers out of the charged tense atmosphere and into the more frivolous, before being thrown back into the grimmer parts of the story-line which pervades the film.

Because it is the stark reality of thousands of married women in Spain that is the basis of the film: badly- treated, beaten and abused, barely five per cent ever get to a police-station or to a court of law. This is the message in this hard, direct film that delves deeply into real human situations which cannot - should not - be simply left in the statistics of bureaucratic ledgers, as happens these days.

'Te Doy Mis Ojos' is a beautiful, tragic, moving real-life story; if in itself it must rank among the best seven or eight Spanish films I have ever seen - and believe me I have seen many - there is something which towers above the film itself - Laia Marull has achieved something nearing the impossible; and Icíar Bollaín has aided and abetted her to produce a final result that can only drive you at the end to give this film a standing ovation.

This is an excellent movie that understands the complexity of domestic violence. I am an advocate for survivors of domestic violence and we know that partner abuse is much more than a black eye. During the movie there is only one episode of physical violence, however we can observe throughout the movie the dynamics of power and control by the husband, through emotional, verbal, and other types of abuse. The person who wrote the previous message shows a complete lack of understanding about the impact that domestic violence has on the victim, why it is so difficult to break with cycle, the challenges that women face when they try to leave (including the fear of retaliation). Don't forget that 75% of women killed by their partners were murdered after they left the relationship. By leaving, women are taking a great risk. I think this movie is very realistic and the actors do a great job. I highly recommend it.

I've already seen this film twice and the subsequent viewing has not diminished much director Iciar Bollain's powerful treatment of domestic violence. In fact, I was actually reluctant to see it again because its potent portrayal of spousal abuse was too disturbing.

There are two things notable about this film that make it stand out from other films on the same subject. One is that it features almost no violence. In fact, there is only one full-blown case of abuse portrayed, and it is less about physical abuse than it is humiliation and emotional abuse.

Another is the nuanced portrayal of the abusive husband. For this, credit must go to actor Luis Tosar, who portrays Antonio. Although the film does its best to give a more balanced portrayal by showing that Antonio does go to therapy and makes some attempt to change his ways, it is Tosar's performance that brings out his human side.

It would have been easy for Tosar to have demonized Antonio, particularly since the actor already a scary appearance, what with his bushy eyebrows and deep-set eyes. But Tosar chooses to take the high road in his performance, focusing on Antonio's deep-seated insecurity and inferiority complex, which are the roots of his violence towards his wife.

His most notable scene is the last one in the film when his wife finally leaves him. As she and her friends go around the apartment packing up her things, the expression on his face is not one of anger but of incomprehension.

But equal credit should be given to Laia Marull, who portrays the wife, Pilar. Because of her performance, the filmmakers literally do not have to show much violence. The literally palpable fear she shows when Antonio is about to go into once of his rages makes that unnecessary.

The film also shows the sexual bond between Pilar and Antonio in order to explain why she continues to return to him despite his abusive behavior, through a frank sex scene that would be possible only in Europe, since American movie makers seem averse to that kind of frankness.

Te doy mis ojos is difficult to watch at times, because of the intensity of its emotional violence. But it is ultimately rewarding for the insights it gives on spousal abuse and the relationship between abusive husband and abused wife.

"Take My Eyes (Te doy mis ojos)" is a frank, classy woman in jeopardy/Lifetime TV for Women film.

A couple of elements raise it above Hollywood's unfortunately already tired treatment of abused wives in such films as "Sleeping with the Enemy" or "Enough", among many others.

First is the superb acting by Laia Marull as "Pilar". Her transformation from frightened mouse to tentative independent to an expressive person with a back bone is riveting. She does look distractingly like Annabella Sciorra, but that means she is beautiful and very womanly.

Second is the emphasis less on the physical violence by an abuser that American films revel in (this film opens right after such an incident) than on the psychological impact, both on abuser and victim. Even amidst strife, this is a passionate couple who were very much in love, though we get hints from the beginning that he was controlling, as in the conversations that include the titular phrase. Unlike Hollywood, her final revenge is not violent but in how she uses those words back at him.

Uniquely, we see the husband (Luis Tosar as "Antonio" looking distractingly like the Irish actor James Nesbitt) as a 360 degree person, with his own family stresses, and not just as the usual evil incarnate. Though we don't see how he got into anger-management therapy sessions for abusers that in the U.S. are usually only a result of a court-order and I couldn't tell from the untranslated credits what experts were consulted for these recreations, they are a fascinating look at an attempt to change abusive behaviors. The shrink finds he has to teach these guys even how to have a conversation with their wives to prevent triggers, let alone what to do when rage starts filling their heads.

Another difference is that while the husband jealously fixates on the possibility of her finding a new lover, a sensitive new age guy character invariably appears in the Hollywood versions (and it was entertainingly non-stereotypical that the Scottish brother-in-law is held up as a prized alternative), the threat to his marriage actually comes from her relationships with the women in her life, from family to friends. Through them she becomes more attuned to humiliation as violence than even her hospital records filled with lied about fractures. It was a bit much symbolically to have her suddenly get into artistic presentations of ancient sexy myths, though it was nice that the credits identified each of the paintings discussed.

While sadly this is a familiar story in filmed outline, the film is continually suspenseful and involving as to what they will do, together and apart.

The best I can say in favor of this film is that I came out of the cinema with terrible back pain because I had been so extremely tense while watching it. The actors are absolutely brilliant, communicating all that needs to be told, and the plot is never simplistic.

Most European social cinema seems influenced by Ken Loach's movies and this one is no exception. The way time passes slowly and characters try hard to improve their situation reminds a lot of Loach's "Sweet Sixteen", among others.

If there is any weakness to the movie is that I can't say if people who do not share the director's opinions on gender violence would appreciate this movie as much as I have.

One of the first negative responses the critics give about the Academy Award is how there is only one award for the rest of the world, that is, Best Foreign Film.

I do like Hollywood films and in fact, about 80% of the movies I watch are Hollywood movies. But this time I am going to write about a Spanish film originally entitled "Te Doy Hasta Mis Ojos", which translates into "Take my Eyes".

The movie is directed by Iciar Bollaín and stars Luis Tosar as Alfonso and Laia Marull as Pilar.

The movie's beginning might as well be a suitable ending with, a determined Pilar and her son running away from home to refugee at Pilar's sister, Ana's house.

The reason and main theme of the movie are soon revealed, Pilar is beaten by her psychotic husband, Alfonso. We then start understanding the difficult, but yet common, couple relationship they live through.

Pilar and Alfonso both love and need each other, which is the main reason why Pilar returns with him. Unfortunately, there are other factors affecting Alfonso, whom even though is attending an anger management program, has several outbursts of anger.

Being the black sheep of his siblings, being at a work he dislikes, and not liking Pilar's new job, which is making him insecure of her faithfulness. The truth is Pilar is only enthusiastic about doing something she likes, her husband misunderstand this leading to the mental disturbing final act.

If I had to briefly describe this movie, I will probably say "Cruelly Real". An uncomfortable feeling is always present. Making you willing to just stop the movie, but at the same time, gluing you to your seat until its ending.

The characters are really well portrayed and even though you feel no sympathy at all for Alfonso, you still try to comprehend the reasons behind his behavior.

I will like to advice it is a really heavy movie but it is surely recommendable, since this is a problem found in societies all around the world, and this movie portrays what a family under this conditions has to live through.

From beginning to end this movie is a sea of tension, mostly generated by Pilar's (Laia Marull) stunning fear gestures, and by Antonio's (Luis Tosar) volatile state, leaving the spectators breathing heavily in awe.

With great performances by the entire cast, a solid and incredibly realistic script, an amazing score, and shot in the beautiful town of Toledo, this production grabs you right from the start. Even when the story isn't as disturbing as 'Once Were Warriors (1994)' the characters develop a three dimensional presence to the point of being as complex as a real couple in a self-destructive relationship creating such a drama, that tends to be more psychological than physical.

And even when the conclusion does not represent a drastic overcome, it stands as an example of courage and self determination that will, in deed, prevail in the mind of the viewer, and even more in those who find themselves in the same situation as the protagonist. Kudos to Miss Bollain, this is a good movie, be sure not to miss it.

This movie takes a brutally honest approach at the tragic reality of spousal abuse. This topic has been addressed before, but this movie deals with the subject matter better than any other I can recall seeing.

An effective performance by Luis Tosar, as the abusive husband Antonio, develops the layers of emotions in this imposing and frightening character in an effort to understand why this violence is occurring. While certainly not presenting an advocate's position to defend his cruel and vicious behavior, the film also resists the temptation of exploiting the volatile outbreaks. The film shows degrading speech and physical battery to the wife, while not going overboard with bloody, gory attack just for their own sake. He attends support groups to discuss with a psychologist and other abusers the root causes of the action, and makes a sincere effort to change his ways. Gradually, the motivations for his irrational action, although becoming clearly understood, are still properly advanced as totally unacceptable.

Laia Marull, as the abused wife, is not stereotyped, either. She is shown as an intelligent and capable person, making an honest effort to confront the situation, while struggling with the conflict of somehow preserving the marriage. There are many artistic metaphors about the passion of their marriage reflecting the very problem they are dealing with. I also like the wife's museum tour presentations, where she is clearly talking not only of the paintings, but of her own aspirations. Both of the principals are splendid in their roles, especially in their interaction with one another.

Much could be written of the rich double-layered symbolism of several other scenes. Suffice it to say this is a beautifully done movie with an ending, that in all its simplicity, took me by surprise. It was the proper ending, too, I think, for reasons you will understand when you see the movie. Definitely worth viewing.

A woman is caught in a violent relationship with her husband. While it's not a bad film, it is nothing more than a rehash of what is well documented about abusive relationships. The plot and characters are quite predictable, making for less than compelling viewing. Although she's not given much to work with, Marull is mostly effective as the victim. However, little insight is provided as to why she behaves the way she does. Another problem is the one-dimensional portrayal of the husband. From the beginning he is presented as a monster without a single redeeming quality. He is so purely evil that it is hard to believe that he would even go to therapy to try to get help.

This movie was highly recommended to me by a friend but I was actually disappointed after watching it. The plot is not original - woman married to a violent man - and the acting, which has been so highlighted here in IMDb, is nothing special. The main actress overacts since the very first scene, walking with her son at the streets during the night. I also did not feel any sympathy for her because, even being constantly beat by a violent husband, she insisted in going back to him. How on Earth would someone go back to such man? The ending is also meaningless (I said to myself, "'s it over??!"). Te Doy mis Ojos could be easily compared to an ordinary TV movie. Pity

Writer-director Iciar Bollaín's film, TAKE MY EYES (Spain 2003) is full of boldness and nuance, approaching 'full frontal' (almost a pun here) the delicate 'taboo' subject on spouse abuse in love and marriage. The exceptionally talented and selfless portrayal of the couple by Laia Marull as Pilar (the young wife/mother) and Luis Tosa as Antonio (the husband/abuser) made their scenes together - both the tender moments and violent events, convincing and complete. It's heartbreaking to see these two people who could be so in love (felt through the intimate lovemaking scenes, the calm moments they enjoy each other by the river) yet juxtaposed by the traumatic turn of events (seen through the 'explosive' frightful situations). Bollaín, with Marull and Tosa, did not shy away from the volatile subject and key scenes - it is no doubt devastating to behold yet the impact of the situation is truly felt and may also leave us shaking. Kudos to such giving and fearless performances and production decisions.

The Toledo, Spain, locales (especially by the river and bridge) seen in the film are as beautiful as I visited in Fall 2003. I remember the museum where Antonio waited outside for Pilar. He tried. He wanted to be a loving husband to her, but he couldn't help himself. It almost seem like uncontrollable 'alcoholic dependency', his jealous rage generated from fear of losing Pilar, whom he believes he loves in his own possessive ways. While Pilar also tries. She practically loses herself in trying to please Antonio and be 'blinded' by his waves of tenderness towards her. She's struggling to be a good wife and responsible mother to their little boy. She's also trying to find herself through the process.

I recall the wisdom from poet Kahlil Gibran's book "The Prophet" on Marriage: yes, you shall be together forever more, but there should be spaces in your togetherness. "Give your hearts, but not into each other's keeping. For only the hand of Life can contain your hearts." And on Love, that it does not possesses, Gibran said: "And think not you can direct the course of love, for love, if it finds you worthy, directs your course."

TAKE MY EYES gives us a rare chance to observe closely the various aspects/perspectives of a domestic violence situation, and offering viable option on the part of the woman. It may not be an easy film to watch due to frank emotional depiction, but it is superbly delivered by a fantastic cast besides Marull and Tosa. The script, co-written by Bollaín and Alicia Luna, contains supporting storyline (including a wedding and Scottish bagpipes and kilts - cultural diversity, girl talk, men talk, laughs and heartaches). Production is excellent in every respect: cinematography, editing, art direction, music score, sound and all. Highly recommend this film, with no hesitation.

I have recently seen 'Take my eyes' its Spanish title is 'Te doy mis ojos'. It is really a brilliant film, from the beginning to the end of it the whole story attracts the audience attention, mainly because it is a real theme, unfortunately very real for lots of women who suffer pains and bad treatments from their husbands. It should have won the main award in the San Sebastian film festival for the best film, but unfortunately it did not win it. On the other hands, the roles of Laia... and Luis Tosar are wonderful. They won their prizes for their excellent acting. Everybody should see this film, specially men, in order to know how to prevent attacks against women

TE DOY MIS OJOS (Take My Eyes) is a blisteringly real examination of spousal abuse - the etiology, the mechanisms, the concept of co-dependency, and the high rate of recidivism - all bound together in a brilliant screenplay by Alicia Luna and director Icíar Bollaín. It won many Goyas (read Oscars) in Spain and for good reason: this is a powerful film about an indelicate subject from a country (Spain) not usually comfortable discussing much less film such issues.

Pilar (Laia Marull) and her son Juan (Nicolás Fernández Luna) live in a small apartment with husband/father Antonio (Luis Tosar), a small section of hell where daily Antonio abuses Pilar with an uncontrollable anger. Pilar and Juan leave one night to live with Pilar's soon to be married sister Ana (Candela Peña) and fiancé, a Scotsman John (David Mooney). Ana encourages Pilar to divorce the abusive Antonio but Pilar is frightened, fearing she has no means of support and admitting that there are parts of Antonio she still loves. Complicating Pilar's thinking is her mother Aurora (the fine Rosa Maria Sardà) who tries to underplay the problem by insisting that all marriages have their little problems! Antonio stalks Pilar, pleading for her to return, but every encounter results in a flair-up of Antonio's abusive behavior. Pilar finds a menial job at the museum in Toledo, a position she loves and soon is training to become a guide, loving speaking tot he public about art. Antonio agrees to seek help for his behavioral problems and enters group therapy and private therapy (Sergi Calleja) and begins bringing flowers and gifts and constant attention to Ana, hoping to have her return home. And return Ana does, with Juan, and with some newfound sense of self worth form her position at the museum. But as soon as Ana is 'home' a horrifying incident occurs and she gathers the strength to see the relationship clearly and respond correctly.

The cast of actors is brilliant, the pacing of the film keeps the viewer on seat's edge, the cinematography by Carles Gusi captures the magic of Toledo, Spain, the musical score by Alberto Iglesias is first rate classical writing, and the amount of information about a little understood problem is an additional reward that accompanies this superb film. The film is in Spanish with English subtitles and the DVD adds a featurette that further examines a treatment center for abusive men feels like a much needed public service ploy. This is one of those films that would be easy to ignore because of the subject matter, but that is a real reason to view it - in addition to the fact that it is such a fine work of art. Grady Harp

A fantastic drama that shows the difficulties and pure cruelty of domestic violence, without ever becoming outlandish. Marull plays a woman that flees, with her son, from her marriage. The film is very clever in showing this act first. It leaves us as fascinated voyeurs and doesn't force us into feeling to much animosity towards the husband. This is key in allowing the film to explore its themes. Later we hear about visits to the hospital, but we don't see this happen. In fact, we see the husband trying to seek help before we see him do anything cruel. I loved this clever touch, as our view of him wasn't tainted. This is probably how many family members saw him. Hearing about his exploits, but is there a chance the wife is exaggerating? As the film progresses, we see the husband as a tragic character. Tosar adds an infinite amount of layers, but we finally see his anger as an uncontrollable destructive force. He sees himself as the victim and his wife as the enemy. In his mind, he is being assaulted. As the film draws towards its climax, there is a sense that they could work it all out, and from that comes hope. The films greatest achievement is not being about the victims. It isn't sappy, preachy, or unbearable. It would have been easy to show Tosar beating Marull, but the film's climax is even more disturbing, due to all the misplaced anger. A great movie.

Now I understand my mother, who around 20 years ago suffered, and so did I, domestic violence ( her husband hit me in the nose with no reason, he just came from outside and she was not home, she was at church with my little brother ). I left the house that same night.

Watching this movie, I was at the brink of crying every time I saw Antonio near Pilar. I thought he was going to kill her at any moment. How could she go back to him after having left in the first place? I saw "Rosa the Portuguese" and despite treating the domestic violence issue very crudely too, this movie really put me there, and I hate to see in the news everyday how many women get kill by her own husbands while fighting... This is something that shouldn't be happening anymore...

What more can I add to Keith's briliant comment to this film?

I totally agree Laia Marull and Luis Tosar are, by far, the brightest stars in the movie, which is a complete 5-star for me, not forgetting Iciar Bollaín's excellent directing work. My personal feelings when watching the movie? Fear itself. Every time he looks at her, every time he approaches her... I could feel the same (or very close) fear a woman may be feeling when she can clearly see her husband is about to explode in anger again. Do not miss this one... the movie makes you think on this whole issue. I do not know how it is in other countries but in Spain this has become a real social problem: war kills and this is having war at home. 'Te doy mi ojos' is real life.

I think this film will be the great winner of the next night of the Goya's ceremony, because It is a very good film.

I like very much the role of Pilar and Antonio. I think Laia Marull come out a big actor. Luis tosar I knew in `Dias al Sol', and He is a great actor too.

Two years ago, I saw `Flores de otro mundo', and I liked but, with his last film Iciar Bollaín to improve herself I think.

I like very much how Iciar to deal of this complicate theme, It isn't to much tense, and She include Rosa Maria Sarda that contribute to apply the comic touches.

The end of the film is a `hollywood ending', a happy ending. There are too much unfortunate ending in the real life about this theme.